The scary part, mounting the work

As I find frames a distraction I have developed a system for exhibiting which involves gluing work onto a painted board, leaving it weighted down with large, heavy, encyclopaedias until “set” and then cutting around the work so that it is flush with the edge of the board. After that I spray the work many times with a matt spray, to protect it from the elements, and attach a hanging wire. I am sure that the work would not suffer if there were fewer applications of the matt spray but, as ever, I err on the side of caution. It would be terrible, after all, to sell work and find that it had been attacked some sort of paper chewing bug in its new home. 

While I have mounted many pieces of work in this way I still find the process rather nerve wracking. After all I don’t want to ruin something that I have slaved over for many hours by finding that there are bubbles in the glue or that the edges of the paper are burred because the cutting knife was not sharp enough. Consequently every new body of work is viewed with trepidation when it comes to the time to put it all together for an exhibition.

Since I have an exhibition coming up in October I am currently in the “mounting” phase. I have mounted about 18, 30 x 30 cm collagraph and lino prints without incident and need to start on the series of smaller monotypes I have done. I meant to do them this week but have been procrastinating, working instead on entries for a group exhibition involving the design of wine labels. 

Finishing the collagraphs

In the past month I have been finishing off collagraph prints ready for my solo exhibition in October.

I started by printing a lot of sheets of paper in 2 colours, using a “generic” plate with an overall, impasto gel, stipple pattern on it. Over this background I printed each one of 5 plates, with images of “details in nature” that I have seen while walking beside the ocean, in 2 more colours.

The image plates were made by gluing cut out paper onto a square of cardboard and then adding texture that would trap printing ink with a medium called impasto gel. The impasto gel sets hard and once protected with a couple of coats of shellac, can be printed many times.

As I was still not entirely happy with the level of definition in the prints I had produced I then worked on them further using aquarel pencils. Rather than produce an edition of say 10 identical prints, which I find really tedious, I have treated each print as a “one off,” using different colours for both the background and image for all of them.

Building depth

Over the past month or so I have been experimenting yet again. It is a never ending quest.

This time the experiments were with a collage technique to create more “relief” works based on the patterns on shore platforms that I have observed while walking.

Cutting the patterns out was something to relax with while listening to an audio book in the evenings.

Gluing the layers together was however a bit more tricky. I tried to paint glue onto the backs of the cut outs with a fine paint brush but apart from getting sticky fingers I found that the glue dried long before I was finished so that adhesion was not ideal. After that I used a model makers technique which one of my sons passed on to me some time ago. It involved mixing equal quantities of PVA glue and water and then quickly applying the mix as a wash to the surface of the backing sheet, sticking on the cut out and applying more wash then cleaning everything off before putting the piece face down on a glass bench with hefty books on top to weigh it down until dry. The PVA dries transparent and invisible – amazing.

With a small hot water bottle

Now that the broken arm is improving and I can operate the press, I am concentrating on preparing prints for my October exhibition.

I am working on collagraphs and lino cuts simultaneously. I had prepared the collagraph plates before I broke my arm. The lino cuts are 4 colour reduction prints so I have to cut more away after printing each colour and the cutting process is a bit of a struggle with the impaired arm even now. To keep the lino pliant I place it on a hot water bottle and Michael (husband) delights in making teasing remarks about my “wimpish” lino needing to be coddled and kept warm every time he sees me disappearing into the studio with yet another replenished hot water bottle.

I know that artists are supposed to freeze in their garrets and I am willing to suffer for my art but I have to keep on-side with the lino. It is hard enough bending it to my will even when it is warm.

I have been experimenting with combining one stage/colour lino cuts with a coloured collagraph background (see images). 

I use these backgrounds with the collagraph images I print too. I call them “generic” plates as they are all over stipple or diagonal lines which I do in 2 – 3 colours and then print a defined image in stronger colours over the top.

Monoprints

 While I have been waiting for the movement in my arm to improve enough to go and use a press at the print studio I use I have been working on a series of small monotypes which I can print with an also small, home made sort of press that I have. The press consists of two pieces of timber about 22 x 28 x 2cm between which the print is sandwiched. Then a clamp which slides up and down at the back and screws into a hole in the middle of the top bit of timber to press the paper and printing plate together. I have not actually tried to print with just this central clamp but attach about 4 other clamps around the edges of the timber just to be on the safe side.

Before I acquired this contraption as a school reject I used to brave my husband’s shed and use his bench vice. With two pieces of timber to sandwich my printing plate and paper inserted into the vice, I used to tighten up the vice and then add a few clamps around the edges for good measure.

While I am not sure that the techniques would work on a larger scale, both methods provide adequate pressure to print a 20 x 20 cm plate.

The monotypes are oil paint mixed with plate oil and painted on to a cardboard, shellac covered plate.